A Companion to Rainer Werner Fassbinder
Language: English
Pages: 656
ISBN: 1405191635
Format: PDF / Kindle (mobi) / ePub
A Companion to Rainer Werner Fassbinder is the first of its kind to engage with this important figure. Twenty-eight essays by an international group of scholars consider this controversial director's contribution to German cinema, German history, gender studies, and auteurship.
- A fresh collection of original research providing diverse perspectives on Fassbinder’s work in films, television, poetry, and underground theatre.
- Rainer Werner Fassbinder remains the preeminent filmmaker of the New German Cinema whose brief but prolific body of work spans from the latter half of the 1960s to the artist’s death in 1982.
- Interrogates Fassbinder’s influence on the seminal ideas of his time: auteurship, identity, race, queer studies, and the cataclysmic events of German twentieth century history
- Contributions from internationally diverse scholars specializing in film, culture, and German studies.
- Includes coverage of his key films including: Gods of the Plague (1970), Beware of a Holy Whore (1971), The Bitter Tears of Petra von Kant (1972), Martha (1973) (TV), World on a Wire (1973), Effi Briest (1974), Ali: Fear Eats the Soul (1974), Fox and His Friends (1975), Fear of Fear (1975), Chinese Roulette (1976), In a Year With 13 Moons (1978), Despair (1978), The Third Generation (1979), Berlin Alexanderplatz (1980) (TV), and Querelle (1982).
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destroys something else. That is the reason why people were created. (Rainer Werner Fassbinder, 1977) Horst Laube had turned on his tape recorder. He was listening intently to Fassbinder talk about the background to his play Garbage, the City, and Death and its origins while he served as artistic director of the Theater am Turm during the 1974–75 season.14 And above all about the “scandal” unleashed by the play after distribution began of the first edition in spring 1976.15 Since that time and
sustainable film industry gradually emerged in the Federal Republic of Germany, one that was financed in diverse ways by the state and was capable of producing films of a high artistic quality. IV And suddenly there is movement and, with it, “something.” But we stand about, we who create values. That is what we are here for. We are not able to accept the opposite of what is. So we are not even close to freedom. (Rainer Werner Fassbinder, 1977) Fassbinder applied his method of producing films to
on French cinema, philosophy, and theory has appeared in Paragraph, Modern and Contemporary France, Studies in French Cinema, New Review of Film and Television Studies, and Film‐Philosophy. Tobias Nagl is Assistant Professor and Undergraduate Chair of Film Studies at the University of Western Ontario. He has published extensively on German film history and is the author of the award‐winning study Die unheimliche Maschine: Rasse Prelims pages after the TOC.indd xi 11/19/2011 10:15:41 AM xii
Blackwell Publishing Ltd. Published 2012 by Blackwell Publishing Ltd. Introduction.indd 1 11/19/2011 10:14:48 AM 2 Brigitte Peucker Jean‐Luc Godard, Jean‐Marie Straub, Luchino Visconti, and Pier Paolo Pasolini. Noted less frequently as an influence on Fassbinder is the German cinema of the Weimar period, from which he learned a great deal about mise‐en‐scène and the image. Intertextual in the extreme, straddling high and low culture, Fassbinder’s films reference not only filmic and
then: “What gets demonstrated in this demonstration? What is the meaning of ‘confirming’ [Bewährung] such an assertion?” The visual form of Fassbinder’s Chinese Roulette (Chinesisches Roulette, 1976) is one continual posing of the question of demonstration, and what can be demonstrated in forms of demonstration. What is the meaning of confirming assertions that have been made about the world and its things, each hanging, in their own true way, awry and askew? What is unconcealed or disclosed, and